fromthebalcony

According to SFB's instagram, Tamara is taking over the company. https://www.facebook.com/sfballet/photos/a.209483166292/10159300754911293

Yes, very sad for all. Kotchetkova, who rehearsed with Hernandez and Cirio in the early stages according to pics, is no longer dancing the Raymonda role. Cirio has done both the secondary role and lead role in other ballets as well ... Manon, Wheeldon's Cinderella, and Le Corsaire, from what I can remember. Because I am not traveling much right now and because things are so confusing with this new wave, I have not gotten to London to see anything. I really wanted to see Creature and Raymonda. I am glad I have tickets for Creature in Chicago, despite the reviews. Now, just praying it goes forward. Over here in the US, we finally had the chance to go back to the theatre with Nutcracker. But they started canceling shows left and right. I got to see Boston Ballet twice, and they finished their run. I did not get to see NYCB, as the shows near the end of the run were canceled. As I said, this is all very sad for the ballet business.

On top of the changes in dates and limited performances, casting could be a fluid situation, as well.

Interesting conversation. I have never walked out of a ballet, with one exception. I left ahead of time, knowing what was coming. It was Jiří Kylián's Bella Figura. I just don't like the idea of nudity in ballet. Call me a prude, or whatever, but I did not want to see that on stage. I have heard the ballet is beautiful, but I cannot bring myself to watch it.

I have read all the comments with interest, as I have tickets for Chicago. I loved Khan's Giselle, although I thought the corps dancing in the second act was a bit weak. I also thought some of the music was loud, but grew accustomed to it as the ballet progressed. I have seen enough of the Creature videos and have followed the dancers' comments on Instagram to know that, although a bleak story, that, at the very least, I will appreciate the work that has gone into the production. I am glad I am going to see it twice, as I often times need several viewings of a production before I can appreciate it. I will certainly be reading the plot/production notes. It's interesting. I saw many people comparing the rape scene to Manon. I think about Manon, and if I did not know the story, if I were a first time ballet attendee, I would definitely need to read the plot notes. I know the world seems bleak right now, and people might just want to go to the ballet for a reprieve. However, I really do believe from hearing Khan speak about the ballet, and listening to and reading what Cirio and Takahashi have to say, the work has meaning. One of the things worth remembering here is Khan's heritage and his viewpoint as a minority, and potentially an "outcast" himself. I wonder also about the first cast of Cirio/Takahashi and their potential feelings of portraying their roles, especially Cirio as an outcast creature, considering their minority status. These are all just thoughts I am mulling over - I am looking forward to seeing it for myself to make the determination. I certainly appreciate all viewpoints represented here, but much of the time, I try to follow the dancers' and their feelings on new works like this. To me, it seemed as though they were all touched immensely by dancing in this work. That speaks volumes to me. I also remembered an article from a few years ago that I thought pertinent here: https://www.out.com/theater-dance/2015/10/30/where-are-todays-political-ballets

Even fairy tales have been criticized of late: https://www.dailymail.co.uk/news/article-9536441/Disneylands-revamped-Snow-White-ride-draws-backlash-sleeping-kiss-scene.html And what of the Aurora's kiss? https://offactandfantasy.wordpress.com/2020/06/30/in-defense-of-the-kiss-in-sleeping-beauty/

I may take criticism for this, and I do not want to offend, but let me pose this question. If your favorite ballet company decided in their hiring practices to hire dancers based on skin color and not on talent (in other words, more dancers of color to fill a quota, but not necessarily talented), would you still pay the same price for a ticket? I believe we do a disservice to ballet (and to any industry) and to people of color if we initiate those hiring practices. As an aside, my children are minority children, and I would dislike them being hired in any capacity/profession because of the color of their skin, and not their expertise or talent. Let me also add that I am in agreement that La Bayadere can and should eliminate black face, but I am also capable of remembering the timeframe in which the ballets were choreographed. Many people do not take offense to Robbins' Fancy Free, finding the "pocketbook" scene all in good fun, and yet we know something like that would never be choreographed today. I cringe just a bit when watching that scene, yet I try to remember the time in which it was choreographed. At first viewing, I was aghast at MacMillan's The Judas Tree, that is until I was able to read the background notes on it. It remains very difficult to watch, but what do we end up with if we throw away everything someone deems "offensive?"

Yes, once the second companies become a part of the school, they should no longer be classified as second companies. but as trainees (in my humble opinion.) I know things have changed over the years and I have not been involved in looking at trainee/second company programs for awhile now. It used to be that most second companies were a part of the company, and they were therefore paid a salary.

You are right. Many of the smaller companies do not pay their 2nd company dancers. As I stated, most LARGER companies (which are usually AGMA companies) that have a second company pay a salary. "In smaller companies, apprentices and second company members may only be paid per performance."

Yes, it is most obvious at ABT and does not happen quite as much elsewhere (as far as I can tell.) And, for the most part, dancers are on their own without family help once they get hired into a company. So those who are receiving financial help from their families - well, that certainly is an advantage.

Many varying opinions here. In the US, it is true that parents can pay large sums of money for training and that dancers in serious training give up many normal teen activities, which is probably the case for anyone pursuing an activity at an elite level. As far as “pay to play,” this does not happen in AGMA companies. Most larger companies have either a second company, apprentices, or both. They receive a salary, although in larger cities it is not always a livable wage. It varies with each company. It is also true that many companies do not have full year salaries. Dancers find other work and/or collect unemployment. However, dancers in large AGMA companies make a fairly good living especially as they go up the ranks. In smaller companies, apprentices and second company members may only be paid per performance. As far as sponsors and promotions, I don’t believe that sponsors necessarily guarantee promotion. I know of dancers who are sponsored and they have remained in lower ranks for years. And to touch on parents donating money, yes, this does happen, unfortunately. Finally, it was mentioned about dancers who are able to pay for private coaching. This is disconcerting ... one, because the company should be providing the coaching necessary for roles, and two, it gives an unfair advantage to those who are able to pay for the exorbitant coaching fees charged in large cities.

I am so jealous. Truthfully, at this point, I would be willing to watch any professional company's Nutcracker live. I don't think Mr. Monaghan understands the huge undertaking of putting on a live show on stage in the time of covid. The ballet companies here in the states have to follow an inordinate amount of regulations just to be working in the studios on a daily basis, and I have heard the same in the UK. Enjoy your performances, and I pray that you do not go into Tier 3 so that the dancers can continue to dance on stage!

It's funny how ballet is so subjective. I have watched the aforementioned three ballets. Stina's "Take Five Blues" was fun to watch and I enjoyed the energy of the dancers. I did feel that her choreography was burdened with too many pirouettes and an abundance of turning. I also would prefer to see this work in the theatre, as I felt it suffered from the different camera angles. Rather than a dance film, I would have liked it to be "filmed dance." However, it was fun to watch and the dancers seemed to relish being back dancing. As others have stated above, Kase and Khaniukova were standouts. Possokhov's "Senseless Kindness" did not appeal to me. As LACAD states above, the story was lost, and I felt the only discernible nod to a Russian family during WWII were the costumes. When I watch a work, one of the judgments I use is whether I want the work to continue or to end. While the dancers are beautiful, I was terribly bored during this piece and was anxious for it to end. I will say the creative lighting was the one thing that kept my attention. Again, my opinion of the work is not a reflection of the dancers themselves, who were technically beautiful. The third piece "Laid in Earth" was the most successful as an "artistic" dance film. This work left me wanting to see more of Adams and Cirio, as both totally embodied the choreography. Once again, I did feel that the actual filming of the piece cutting away from some of the dancing was disappointing. But I didn't want it to end. I felt drawn in and mesmerized. As one of the reviews stated, "Inspired by Purcell’s haunting lament from Dido and Aeneas, which is cradled here in the slippery electronica of regular Larbi collaborator Olga Wojciechowska, this is a wholly realised work – neither filmed ballet, nor ballet film but something other." The work was originally a duet performed by Royal Ballet of Flanders and was apparently a tribute to Pina Bausch. I do think it could translate to stage without the special effects. I applaud ENB for their hard work and effort in bringing these works to us and I look forward to the remaining pieces. And I am glad there is something for everyone in the digital programming!

If you break it out, it’s $30 per program. That’s wonderful that you are able to pay less than that. My husband and I both enjoy the ballet, and if my son is around, he enjoys it as well. I guess I have never paid less than $30 for a ballet ticket, so it’s ok for us. As for the rest of the programs, “The Gift” is a full work which will be shown with the second act of “The Nutcracker,” Jorma Elo’s “Plan to Be” and his new pas de deux will be shown in full, and Linning and Ossola will present full (albeit short) works in the Process & Progress program.

I was disappointed that a whole ballet was not shown, as well. However, I did enjoy what they did show. I asked a few of the dancers and it seems that showing a full Forsythe ballet may have been a problem. He made it pretty clear in the interview that he chose what was going to be shown. Additionally, some of the future presentations will contain full works. I guess I didn’t think it was that expensive considering a whole household could watch each of the six programs for $30.

Unfortunately, I spoke with Cirio last night after his performance, and he performed on an injured foot. Hoping he can finish the rest of his performances, as I am in London and got tickets for Corsaire and the gala performances. Etudes is one of my favorites and I was looking forward to him in that.

Weighing in from the US. I find it increasingly distasteful to see dancers’ Instagram accounts, and I have actually “unfollowed” some for their shameless (my opinion, of course) promotion. In many cases, their actual dancing does not match their Instagram fame.

Yes, it’s been down all day.

I am happy to hear this!

Just to clarify. She did receive treatment and was in the hospital for several days, according to her Facebook. Additionally, I work in a medical office in the US, and have numerous emergency room nurses as patients. Never once have I heard of people being turned away. In fact, they complain about people coming in for non-emergencies and they still must treat them. Additionally, this is a fact: https://www.empr.com/home/features/law-101-emergency-medical-treatment-and-active-labor-act-emtala/2/. I do hope she gets what she needs.

I was lucky enough to see several casts of this and I loved Streeter/Rojo/Cirio. Really amazing chemistry. I would love to see Khaniukova get a chance at this Giselle, as well. It would wonderful to see her paired with Cirio as her Albrecht, as they danced the traditional Giselle earlier this year together in Ukraine, and the pictures on her Facebook page look amazing. She also shared this video. She really is beautiful, and it appears they have good chemistry together. Wish I could be in London this fall to see Akram’s Giselle again. https://vogue.ua/article/culture/teatr/ekaterina-hanyukova-i-dzheffri-sirio-o-rabote-nad-baletom-zhizel.html

I have only been here a short while, and I mostly just read the threads, bu I am very sorry to hear this. My sincerest condolences.

It’s very sad. When you google Francesca’s name, that’s the first thing that comes up. Misty Copeland has a huge Instagram post congratulating her. However, I am confused. I did not read this whole thread. Originally, the choreographer was to be McGregor as referenced in her post. But I see Blankenbuehler is listed. I wonder why the change. Sorry if I missed that portion of the thread.

I think Takahashi and Streeter are slated for that. I have not seen other names. https://www.prnewswire.com/news-releases/cunard-announces-new-partnership-with-the-english-national-ballet-and-invites-guests-to-dance-the-atlantic-300753439.html

Some of the men just performed Forsythe’s “Playlist” at Despertares (Hernandez’s summer gala and outreach) in Guadalajara. Additionally, Rojo danced with Hernandez, Joe Caley performed a pas, and Cirio Collective (Cirio’s summer company with his sister) performed in an evening of their own. There were numerous other international guests including Osipova. From other company member Instagram posts, it would seem the company is on holiday.